I was between books and having a hard time deciding what kind of reading experience I was craving, and I ended up doing a reread of Crosstalk, by Connie Willis, to provide some light comic relief in between the literary and the dystopian.
To really love Connie Willis, you have to be willing to go along with a writing style that is a sort of frenetic stream-of-consciousness experience led by one or more of her characters. No matter their major premise, many of Willis’s books are based on the idea that people hope for the best but continually expect the worst, and that they can’t keep their mind on the present moment because they are either obsessively dwelling on the past or compulsively anticipating the future. And because sometimes more than just the protagonist behaves in this way, you have a built-in tendency for poor communication, missed opportunities, and sometimes comical results. Not that all her books are intended as farce (as is this one); but this frustrating communication style is almost universal in her stories, meaning that the tension builds from low to high as you continue to read. It engenders excitement along with the frustration, and certainly guarantees that you want to finish the book to find out what happens—did the protagonist’s worst fears come true? or did they somehow manage to pull off whatever was necessary to meet their objective? The test is whether you (unlike the main character) can deal with the anxiety while enjoying (in this case) the romantic comedy.
Crosstalk takes place in the not-too-distant future. Its main protagonist, Briddey Flannigan, works at Commspan, a company that is in direct competition with Apple to produce the latest smart-phone technology. Briddey is dating one of her co-workers, the sharply dressed smooth-talking Porsche-driving Trent, and is thrilled when Trent suggests to her that they undergo a new outpatient procedure that is all the rage, the EED. Simply explained, if two people are sufficiently invested in their relationship, then this operation creates empathy between the romantic partners so that they can actually experience one another’s true feelings. Trent implies that undergoing this procedure would be the run-up to a marriage proposal once they have achieved this desirable emotional connection.
There is a lot of interest from Briddey and Trent’s co-workers (and inexplicably from his boss) in their daring step, and attention of a different kind from Briddey’s family, who are all opposed to her undergoing the procedure. But when the celebrated Dr. Verrick who performs the surgery has an unexpected opening, Briddey and Trent go for it, only to end up with some unexpected consequences: Briddey finds herself connected, not to Trent, but to someone else entirely, and empathy is just the beginning of what she experiences.
The tension ramps up as Trent wonders why—a couple of days past the estimate when the doctor said their “channel” would open—the two of them have not yet connected; and between keeping it a secret that she is in synch with someone else and keeping her increasingly suspicious family at bay, Briddey is at the end of her rope. But that’s only the beginning, as unforeseen complications take all her energy and attention.
Crosstalk explores a timely topic for the Information Age—the perils of over-communication, along with miscommunication, gossip, deception and the many other ways human interchanges can go wrong. Connie Willis says on her blog,
The novel was partly inspired by our wildly over-connected world, in which we’re constantly bombarded with communication, most of it unwelcome, and partly by the misconceptions people have about what being telepathic would be like. They always assume it would either be profitable (finding out people’s computer codes or social security numbers or blackmailable personal secrets) or fun.
Mentioning the telepathy is a spoiler, but I guess if the author is going to do it, I can too, and it comes up quite early in the book. I made an illustration that goes with the story: This is Briddey, building an internal “perimeter wall” out of make-believe bricks, the reciting of poems and stories, and the enumeration of the types of marshmallows in Lucky Charms cereal, in order to keep other people’s thoughts at bay.
My reaction to this book is positive, although I do think that Willis could have cut about 100 pages from it and it would have been more readable. At some points the dithering, the familial interactions, and the feeling that you’re in the middle of an Abbott and Costello routine become wearing, and you want to move on to the next bit rather badly. My favorite romantic comedy of hers is To Say Nothing of the Dog; but the fact that I have read this twice speaks to its merits, even if they aren’t quite as great as some others of her books. It’s definitely worth it for the fun pop culture references if for nothing else!
Finally—a suspenseful story that I actually enjoyed! Take Me With You, by Tara Altebrando, is a combination of science fiction and suspense…although the science fiction is so close to reality that you could drop that out of the description with some justification. When I say that the events of this book could be “near future,” I’m talking weeks or months,
Four teenagers who attend the same school but barely know one another—Eli, Marwan, Eden, and Ilanka—are all summoned via the school’s messaging app to report to the music teacher after school about “an important matter.” When they arrive, there’s no sign of the teacher, and after waiting for a while, they think it must have been a mistake and prepare to leave. But there is a small black cube sitting on one of the desks, and as they talk it over, its sides light up with messages:
They all agree that it’s weird, and the best thing might be to walk away, and then…
“TAKE ME WITH YOU…OR ELSE” appears on the cube, immediately followed by a fire alarm going off. As they evacuate, Eden grabs the cube and shoves it into her backpack, setting in motion a bizarre interval in all their lives as the instructions from the cube grow more arbitrary and more adamant and they all scramble to meet its demands. When one of them decides to disobey, there are scary consequences that make them all wonder how this is going to end.
The thing I think I liked the most about this book was that the characters, although invested in this mystery, were multi-dimensional (and multi-cultural, by the way) and had a lot more going on in each of their lives, so that the advent of the cube was mostly an irritant and an inconvenience (at least at first) rather than the main thing on which they were all focused. Too many YA books are mono-focused, and unless it’s very well done, it gets monotonous. But in this book, which takes on the topics of stereotyping, anxiety, grief, and racism, Eden has boy problems and family issues, Marwan and his family (and their restaurant) are experiencing xenophobia for being Egyptian, Eli is a gamer who is more comfortable in his created world than in the real one, and Ilanka is busy figuring out priorities, trying to decide whether it is more important to her to be accomplished or to be happy. So interaction with the cube either accentuates their dilemmas or brings up new ones to distract them, and becomes a part of the story rather than the whole. It also brings them together as a unit as a result of outward motivation rather than choice, which shows all of them how little they knew the people around them and how, if they paid attention, they might find previously unrecognized value in their classmates.
As for the cube itself…a fairly classic story of artificial intelligence gone wrong, but with the advantage that it’s something that could actually happen. Consider all the data collection, spying, and hacking that is already going on in the world. Then think about Alexa, already able to a degree to self-program, by learning from repeated experiences and providing what you want or need in your home or car. Now give her a little boost, so she is aware enough to become curious about human interactions and to experiment with your reality by trying out things you haven’t requested or approved, with little critical judgment about what is trivial and what is potentially catastrophic. Now you have the propelling idea.
The story, which is presented from the teens’ multiple viewpoints (mostly according to who is currently in possession of the device), is a compelling page-turner. I wanted to know what would happen to the characters, and I also wanted to know the origins and rationale behind the device and why it was presented to these four, at this time, and for what reason(s).
The whole tale definitely makes you think about the various uses of technology, and how vulnerable we are when we allow its intrusion too far into our lives. It’s time to wake up and make the hard choices about tech: whether to surrender to it, tame it and keep it on a tight leash, or banish it in the name of autonomy. This could be a great book for a group discussion in a book club. Pair this with Cory Doctorow’s For the Win to expand your ideas on this topic.
I am a big fan of science/speculative fiction writer Jo Walton, although I have found her offerings to be somewhat uneven between things I love and things I recognize as worthy while not personally caring for them. I was excited to discover that she had written an alternate history in which Great Britain negotiated its way out of World War II in return for a treaty with Hitler, who proceeded to conquer the European continent while sparing England across the Channel.
I thought Farthing was a new work, possibly designed to address the fascism and bigotry that have been revealing themselves these past few years in America; but after I got into it I discovered it had been published in 2006 and was, in fact, the first of a trilogy, the others being Ha’penny and Half a Crown.
I also found the book disappointing in some respects, but only because I had a particular expectation that it didn’t fulfill. I thought it was a full-on alternate history and would deal more specifically with the details of that world; instead, Walton used post-war Britain allied with Germany as a backdrop for a “locked-door” murder mystery novel reminiscent of Agatha Christie, which is not really what I wanted to read.
The details of the alternate history do matter to the story: Eight years after they overthrew Churchill and led Britain into a separate peace with Hitler, the aristocrats of the “Farthing set” are gathered for a weekend retreat at the Eversley’s estate. Lucy, daughter of the house, is one of the invited guests, although her new husband, David Kahn, a Jewish banker, is less welcome. Lucy has “thrown herself away” by marrying him, and is tolerated, rather than welcomed, into her old social circle as a consequence. Neither of them really wished to come to the country that weekend, but Lucy’s mother imperiously summoned them, and David felt perhaps she was holding out an olive branch, although Lucy, being more familiar with her mother’s prejudices, knows that can’t be the case.
Soon the two can only wish they had resisted the invitation and stayed in town; Sir James Thirkie, a friend of her parents who is also the person who engineered the historic agreement with Hitler for peace, has been murdered sometime between Friday night and Saturday morning, and some details of the murder look like they have been specifically engineered so it can be blamed on David Kahn.
Fortunately, the Scotland Yard inspector sent down to solve the case is less gullible than are the local police and sees the nature of the set-up; he doesn’t view Kahn as remotely likely in the role of murderer, but if he can’t see his way clear to accusing someone else, Kahn is likely to go down for it, as Jewish scapegoat on the scene. Inspector Carmichael does his level best to come up with a solution, but new details keep getting thrown at him that twist the mystery further this way and that until no one knows how it will end.
Although I recognized and appreciated both the set-up and the writing in Farthing, I felt somewhat dissatisfied after reading it. The mystery itself was not particularly intriguing, and the alternate history aspect left me wanting more world-building. I also wasn’t a big fan of the alternating point of view between first person (Lucy’s journal of the events) and third person (Inspector Carmichael’s investigation), although I did like both characters quite a bit. Character development is one of Walton’s strong suits, and she didn’t fail here, particularly as regards the inspector, whose ulterior motive for refusing to suspect David Kahn enriches the story.
It was strange to read the book from within the throes of the current political climate. I started the book two days before Election Day, and finished it a couple of days afterwards, and I did appreciate how the author asked the reader to consider the consequences of allowing fascist behavior to continue and grow. There is also a familiarity about the plight of the Jews in this book as compared with the history of black people in America; there are all these little bits of discrimination that each by themselves seem fairly innocuous (especially if you are not the party who is targeted by them) but taken collectively they are seen to intentionally omit, push out, reject, and deny full personhood.
I don’t think I am sufficiently enamored of this book to pursue reading the other two; but if you are a person who enjoys Agatha Christie or Dorothy Sayers mysteries and also appreciates good character development, witty dialogue, and an unexpected background for all of that, you might want to check out this trilogy.
My preference for Walton’s alternate history oeuvre is her three-book series that begins with The Just City. The Thessaly trilogy is based on the idea that the goddess Pallas Athene, curious as to its outcome, creates a society designed to follow the tenets of Plato’s Republic. She extracts 100 caregivers and 10,000 babies from various points in history (past, present, and future), puts them together on an island located in the distant past, and instructs the adults to raise the children strictly according to Plato to be their “best selves.” A few years into the experiment, she kidnaps and throws Sokrates into the mix, and then things get interesting.
Sometimes themes develop accidentally, as you pick up a book here, a book there, and then view all of them at once, deciding what to read next. This particular theme was “fat women,” with one chick-lit debut and one YA by an author already known for heroines with size diversity.
Reviewing One to Watch, by Kate Stayman-London, forces me to confess a deep and shameful secret: I have been known to tune in to an episode or two of The Bachelor or The Bachelorette. Let me hasten to say that I am not one of what the host calls “Bachelor Nation” (ahem pretentious much?)—in fact, it’s been more hate-watching than anything—but I have, over the many surprising seasons it has continued its hackneyed formulaic road to romance, checked it out. The primary motivation for this is a complex cocktail of wanting to see the pretty people and the exotic locales, to mock the uniformly sincere expressions of all the participants who think they might have feelings for someone with whom they have spent six hours, and to marvel at the idiocy or bewilderment of the families who condone this behavior by one of their own. The primary result has been to irritate my cat, who doesn’t like it when I talk back to the television set, particularly when it’s in a scathing tone; but somehow I am as unable to resist seeing what’s going on just once a season as I am prone to wonder who will win Dancing with the Stars.
For that reason, the idea that the show would cast a bachelorette who was of a body type not seen on television unless the actress is playing a grandmother or a police chief intrigued me. A bachelorette who wasn’t a size 4? One who might actually sit down at one of those candlelit tables and eat the delectable dishes laid out in front of her, rather than spend the whole meal sipping her wine and whining about her feelings? Bring it on.
The whole concept that a normal woman—that is to say, someone closer to the American average of size 16—could be celebrated as desirable to 25 bachelors seeking matrimony is enticing, though problematic. After all, regardless of the inclusion of body positivity, the show is still set up to see romance as a cattle-call competition, with the women as prizes.
I am somewhat embarrassed to say, therefore, that I thoroughly enjoyed this book and would recommend it to someone looking for a story with a protagonist to whom they can relate: Someone who has transformed themselves on the outside but is still vulnerable and afraid beneath the surface; someone who decides she is brave enough to take a chance but who then constantly second-guesses herself based on everything that has been pounded into her by society, her family, other women, the men who have failed to requite her love, and the relentless trolls on the internet.
Bea Schumacher is a confident and stylish 30-year-old plus-size fashion blogger. She has good friends, a loving family, thousands of Instagram followers, but no romance. Her secret crush has strung her along for years, and has recently caused her to swear off men for the foreseeable future. But after she writes a blistering blog post about the show Main Squeeze (The Bachelor, thinly veiled) with its lack of body diversity or, for that matter, any kind of diversity in its legions of skinny white people going on fantasy dates, the show calls her and asks if she will be the next star. Bea agrees, but she tells the show’s new producer, Lauren, that on no account will she actually fall in love. She’s going on the show to make a point about anti-fat beauty standards, and maybe to boost her list of followers into seven figures.
Of course things will get more complicated. Of course she will be upset, confused, intrigued, tempted, repulsed, angered, and beguiled as she spends 10 weeks supposedly looking for love. But she can’t possibly let go of all her preconceived notions and believe in the HEA, can she?
The thing I liked about this book was that it turned the reality show on its ear. Yes, there were meet-cute moments and embarrassing tests and awkward interludes just like on the real-life show, but in between that, because Bea isn’t the usual fare, the bachelors (who are mostly the usual fare, either muscular and dumbly sincere or sharp, handsome, and deeply cynical), get jolted out of their complacency as she attempts to have conversations with them that don’t revolve around the typical inanities. Bea is portrayed as a real person, and she reaches out to find the real person in each of the men she ends up with after the “extras” have been kissed off. (I loved that instead of “will you accept this rose,” the woman here gives them a lipstick kiss or “kisses them off,” depending.) As on the show, you really have trouble trusting that the men are telling the truth about themselves, their feelings, and their motivations, which is compounded in the case of Bea.
I thought the author nailed the struggles of being a plus-sized woman, wavering from confident to terrified as she is confronted by the cruelty of society towards women who don’t conform to insane standards of beauty. (She also had some fun pointing out how a blind eye is turned to men in that same category.) She didn’t fall for the temptation to make her protagonist lose weight in order to find her HEA, she forced the show, the men, and the viewing public to accept Bea as she was.
The depiction of the reality TV world—the way things are manipulated to make ratings, the descriptions of the fancy wardrobe, the tensions of the timetable—were well done, as was the use of the social media inserts into the story—text messages, emails, TMZ articles, tweets, and blog posts all added dimension to the story.
Ultimately, the book does pander to wish fulfillment, but then, what did you expect? It’s a rom-com. But it’s entertainingly written and told, and does have a lot to offer about false standards of beauty and their equation with worth. So I say, a positive review.
By contrast, I became almost immediately impatient with both the author and the protagonist of Julie Murphy’s new book, Faith Taking Flight. I should have known better than to broach this book with no expectations, because I found her previous book, Dumplin’, to be full of contradictions that didn’t lend themselves to her avowed goal of advocating for plus-size teens. But the prospect of a fat girl who could fly grabbed my attention, and I jumped in with enthusiasm.
My enthusiasm quickly turned to dismay and derision as I experienced the thin plot development regarding the flying skills. Faith meets Peter, who tells her she’s been chosen to go through some kind of conversion to turn her into a superhero, because she has the potential to become a psiot. This conversation takes place at the mall. Then he tells her (alarm bells should be ringing) that she has to perpetrate a “cover” for herself over the summer—to tell her grandmother that she’s off to journalism camp. She agrees! She climbs trustingly onto a bus, goes to a secret underground facility, is locked in a room and assigned a uniform and a number, and then realizes she’s an experimental subject. Meanwhile, her granny (her guardian) sends mail and makes phone calls for the entire six weeks that she’s gone; Grandma Lou receives not one response, and doesn’t see this as a problem or institute any kind of inquiry, just assumes her granddaughter is fine? Come on. We discover later (way too late in the book) that Faith actually escapes from the facility with Peter’s help, whereupon she simply goes home and does nothing—doesn’t call the authorities, or wonder about all the other kids who were trapped there with her—she just gets a part-time job at an animal shelter, and resumes school in the fall. But this is the most unbelievable part of the entire story: She doesn’t fly! She has this ability, which would excite most of us beyond belief, and she doesn’t go out every night to try it out? doesn’t practice? doesn’t test her limits or tell her friends? No. She pulls it out when necessary (to save someone from falling off a roof, or to look for her grandmother when she wanders off, a victim of senile dementia) and that’s it. Right.
Meanwhile, we have the secondary plot, which is actually the primary one considering how much space it fills in the 338 pages of the book: The cast and crew of the teen soap opera (The Grove) with which Faith has been obsessed since childhood—to the point where she writes the premiere blog about it and publishes weekly recaps and commentary—moves its filming destination to her town, and the star of the show, Dakota Ash, supposedly meets cute with her over adopting a dog from the shelter, but then confesses that she has read the blog and knows who Faith is. Faith is over the moon (but still not literally, because not flying), and we get a lot of detail on this relationship, hurt feelings from abandoned “regular” friends as she tours the lot and has milk shakes with the star, yadda yadda. Oh, and this is the point where Faith explores the idea that she might be gay…or bi? After all, in addition to the tempting Dakota there’s also her journalism swain, Johnny….
Enter third plot: Animals (both strays and pets), homeless people, and random teenage girls have disappeared from town and no one can find them. One dog and one girl reappear, but are catatonic and provide no clues to the mystery.
So how does all of this fit together? Badly. Improbably. Unconvincingly. Incompletely. Because…there may be a sequel in the works. Yeah. Which would actually be good if it clears up any of the picked up and dropped plot points, the fuzzy background and world-building, and Faith’s inexplicable reluctance to use her friggin’ superpower! But based on this one, I highly doubt it. I discovered on Goodreads that this is a prequel novelization of a superhero from Valiant Entertainment comics. If I were the author of those comics, I would not be happy at this moment.
Before I forget, allow me to address the fat girls in the room: Murphy punts in this book as she does in Dumplin’. She gives the heroine the possibility of a romance or two in which Faith speculates, “But what could they see in ME?” and she almost lets her have it, but then pulls back to deliver the same blow fat girls always endure, when they are told that they are not special and that no one would want them. Yeah, maybe that message served the plot at that particular moment, but aren’t we all tired of the incessant battering of that already bruised spot on the fragile fat-girl ego? I know I am.
I finished the book, but I confess that it was only so I could better skewer it. Faith herself is an ebullient and somewhat refreshing protagonist, but she’s so weighed down by a thin, chaotic and nonsensical story line that she’ll never, ever get off the ground.
I woke up this morning and checked the calendar to discover that it’s International Cat Day! I must commemorate that, or Gidget and the spirits of all my house cats who have gone before will haunt me. Here, therefore is an eclectic and by no means complete list of some books that feature felines as protagonists and companions. The array of adult books seem to fall into one of two camps: The cats who solve mysteries with their human counterparts, and the cats of science fiction, who are sentient to various degrees. The children’s books celebrate cats in all ways possible from the realistic to the bizarre. These are in no particular order, except possibly by the age of the humans to which they may appeal. If you wish to find hundreds more books about cats, look here, under “lists” in Goodreads.
The Cat Who… mysteries, by Lilian Jackson Braun, in which a reporter and his cat solve mysteries. First book: The Cat Who Could Read Backwards.
The Mrs. Murphy mysteries, by Rita Mae Brown & Sneaky Pie Brown, in which Mrs. Murphy and her human companion solve mysteries. First book: Wish You Were Here.
The Joe Grey mysteries, by Shirley Rousseau Murphy, in which there are talking cats and also a human who discovers an ability to morph into a cat. First book: Cat on the Edge.
Catfantastic: Nine Lives and Fifteen Tales, by Andre Norton, editor, in which sci fi and fantasy writers tell tall tales about furry felines. (Short stories.)
The Dalai Lama’s Cat, by David Michie, in which the Tibetan Buddhist leader’s cat offers insights on happiness and meaning.
The Chanur novels, by C. J. Cherryh, in which a leonine species—the Chanur—take in a human refugee and by so doing threaten the interspecies Compact. First book: The Pride of Chanur.
The Cinder Spires books, by Jim Butcher, in which there are also cat clans and some naval airship action. First book: The Aeronaut’s Windlass.
The Cult of the Cat books, by Zoe Kalo, in which Trinity is left with a dead grandmother and a thousand grieving cats. A sort of Egyptian urban fantasy. First book: Daughter of the Sun.
Old Possum’s Book of Practical Cats, by T. S. Eliot, in which the author describes cats each by their distinct personality. (Poetry.) Someone should set this to music…
Millions of Cats, by Wanda Gág, in which a lonely old couple acquires companions. This is known as the original picture book for children.
The Cat in the Hat, by Dr. Seuss, in which Sally and her brother receive a visit from a madcap cat.
Socks, by Beverly Cleary, in which the cat has to learn to share his family with their new baby.
The Warriors books, by Erin Hunter, in which a house cat discovers clans of cats living in the wild in the forest…. First book: Into the Wild.
Varjak Paw books, by S. F. Said & Dave McKean (illustrator), in which a cat goes Outside and overcomes challenges.
The Wildings books, by Nilanjana Roy, in which a small band of cats lives in the alleys and ruins of Nizamuddin, an old neighborhood in Delhi, India.
The Feline Wizards series, by Diane Duane, in which feline wizards time travel to avert disasters. First book: The Book of Night with Moon.
The Cat Pack books, by Phyllis Reynolds Naylor, in which brothers Marco and Polo go adventuring. First book: The Grand Escape.
The Black Cat Chronicles, by Aileen Pettigrew, in which there are cats, zombies, and magic. First book: Soul Thief.
Stray, by A. N. Wilson, in which a cat without a home tells his own rather bleak story.
Tales of the Barque Cats, by Anne McCaffrey, in which cats are essential members of the crews of space vessels…until an epidemic threatens their extinction.
The Incredible Journey, by Sheila Burnford, in which a bull terrier named Bodger, a Labrador retriever called Luath, and Tao, a Siamese cat, travel 300 miles through the Canadian wilderness to reunite with their people.
I’m struggling with how to convey my reaction to this book. It’s Chosen Ones, by Veronica Roth, her first “adult” novel (she’s famous for the Divergent YA series). It’s almost like there were three books contained within this one, and I really liked one of them, I mostly liked but was confused by the second one, and about the third one I was quite ambivalent. (Not in that order.)
I like the concept, which is, What happens to heroes after their mission is complete? They have done their job and defeated the evil force, and now what will life look like? But the concept is also part of the problem: Because the book is being written 10 years after the central event—the defeat of the Dark One—that was the major turning point in the five Chosen Ones’ lives, we get a confusing and contradictory look at those events, depending on to whom we are listening. It’s obvious that the trial had a devastating effect on at least some of these people, but a couple of them—Matt and Esther—seem to have recovered just fine and are using their fame to good purpose. The others—Ines, Albie, and Sloane—seem permanently stuck. Albie and Sloane, who were held and tortured by the Dark One, suffer cruelly from PTSD and are awash in misery and guilt. When the book opens, Sloane has just requested some top secret documents from the government about the events in question because, even after all these years, she feels like she doesn’t know either the truth or the scope of what happened, and she needs to make sense of it so she can move on. The documents do add to the narrative (and it’s fun to have them inserted into the text), and they do explain some things, but they bring up as much as they explain.
Anyway, the Dark One has been vanquished, the five are trapped in their celebrity stereotypes, doing the rounds of public appearances for such things as anniversaries and dedications, and everyone is in a holding pattern. Then, a tragedy brings them together, and they are suddenly being challenged to do battle again, with a foe possibly even more powerful and terrifying than the first.
At this point in the book, right after a major transition, things kind of come to a halt. There’s a lot of talk-talk about the sitch, multiple training scenarios for new techniques to vanquish the enemy, and the narrative gets a bit turgid. Then Sloane, ever the curmudgeonly rebel and loner, decides to step outside the box, and in Part Three, things finally get lively.
I have read many books in which it is necessary to set up a past, to explain current scenarios, and then move into the present-day action. This book doesn’t do a great job at that. Part of it is that we are too much inside people’s heads (mostly Sloane’s) and it’s a mess in there. Part of it is that there is not much focus—no linear story-telling here, you’re supposed to pick it all up on the fly as events and people jump around, and sometimes that works and sometimes it doesn’t.
I did end up liking the book, mostly because of two characters (Sloane and another I won’t mention because it’s a spoiler, but he’s way cool). When they finally begin to figure things out, plan, and interact, the pace accelerates and we get not only some action but also some surprising information that causes the rest of the story to suddenly make more sense. But it seems to me it’s way too long in coming,
and a less motivated reader might give up before arriving at this point in the book.
There were also some inexplicable things: In mystery writing they always tell you, Don’t mention a gun unless it gets used in the next scene. The same goes for characters, and one person in this one who you rightfully expect to be major (or at least present!) simply disappears from the action, with no comment or explanation, despite her supposedly central role. There are also some “reasons” for various phenomena that are patently absurd, but…it is a sort of a comic book of a story, after all. Still, it’s nice when science fiction actually adheres to some consistent form of science, even if it’s invented.
Finally, this book is numbered “Chosen #1” in Goodreads, which would imply a sequel; but there is no cliffhanger or any sign at the end that a sequel will be forthcoming or even necessary. Perhaps that’s a good way to handle it—since there is no foreshadowing, the sequel could be literally anything the author pleases. It just seemed weird not to have at least a few ominous threads left dangling.
I would recommend the book, because the ideas are ingenious and at least two of the characters are compelling, ironic, and occasionally darkly humorous. And I will read the sequel, because this one engaged my curiosity sufficiently about where the story will go next. But it’s definitely a mixed bag.
Also, similar to Leigh Bardugo’s “adult” book Ninth House, this feels more like NA (new adult) than anything more mature.
For some time now, I have meant to catch up with other readers, reviewers, and critics who have sung the praises of Nnedi Okorafor and bestowed multiple science fiction awards on her various writings. I was initially only aware (because of my profession) of her young adult books, Akata Witch and Binti, so I decided to start with Binti.
I was immediately fascinated. Binti is a marvelous protagonist, a 16-year-old of the Himba tribe of Namibia, whose traditional and isolationist family and culture nonetheless prepare her, through a magical gift for mathematics, for defiance of her family’s wishes. She receives a mathematics scholarship from the prestigious Oomza University, and bravely and optimistically chooses to attend this cosmopolitan and multiracial (as in, alien races) galactic institution despite the many fears with which she has been imbued by her family. The details of how she insistently brings her cultural identity along with her, despite the judgment and sometimes shock of the reactions around her, and her quiet persistence in finding a way to fit in are an arresting narrative. On the transport ship, she meets a diverse group of young people headed for the university and begins to find her footing and make friends.
Then, five days before the ship reaches its destination, a cultural conflict confronts the entire university as the Meduse, a fantastical race of beings bent on revenge over a thoughtless cultural appropriation, turn Binti’s transport into a nightmare of death, and Binti must act as the representative for the human race, despite her marginalized placement within it.
I was completely fascinated by this tale and thus completely outraged when it ended a few pages later! I had no idea it was a novella of 90 pages, and frankly wonder why it was published in that form. There is a huge story here, with so many intriguing ideas and influences to be unpacked, and rather than developing it into the full-length book that those details demanded, Okorafor instead wrote three novellas to cover the same material, and sacrificed continuity, in my opinion.
I decided, based on her facility for character creation and world-building, to give one of her full-length adult novels a try, so I picked up Who Fears Death from the library for my Kindle and began making my way through
For sheer scope and number of ideas and themes, I’ve never read anything comparable; but one could wish that Okorafor would slim down her vision to tell just the story she’s in at the moment, instead of including every conflict, controversy, and social injustice of which she can conceive.
This is at once a post-apocalyptic tale of the Sudan, centuries older than our own but still plagued by savage internecine war between the Okeke and Nuru; a coming-of-age story; and a “savior” quest. The initial focus of the book’s protagonist, Onyesonwu, is on her own story and how it highlights all the problems of her society. She is a child of rape who faces persecution based on her mixed-race status as an Ewu, and is also discriminated against because of her gender. It is a severely misogynist landscape in which such horrors as female genital mutilation are still practiced. The early parts of the book relate her struggles in these areas, as well as her frustrated pursuit of a magical mentor to help her come to terms with her emerging powers.
I had trouble at first understanding that this was supposed to be post-apocalyptic. The problems with the society seemed both contempo-rary and timeless, and it wasn’t until well into the book, when some comments were made about the sins of the Okeke as regards technology, that I realized that was part of the history. It was hard to distinguish between the Okeke and the Nuru when all was said and done, since the Okeke were the victims while having previously been the people with the upper hand in society, while the Nuru, despite their single-minded persecution of the Okeke, seemed in some ways more advanced, or at least more benign. (Don’t misunderstand—both tribes were repellent in their treatment of anyone not “one of us.”)
After the growing-up phase of Onyesonwu’s life, the story takes a turn towards the necessity for her to learn and control her powers, and the reluctance or outright refusal of most of the (male) wizards to take her on as an apprentice or, in fact, teach her at all. She does manage to get her training, but it’s a rather interminable part of the book as you watch what she goes through to achieve it, and grew wearying before the end.
Then, the story turns again as Onyesonwu realizes that she has a pivotal role to play in the salvation of her people. She and her lover and friends set out on a quest across the desert to stop the genocide happening in the Seven Rivers region, and their squabbles and travels are at some points interesting and at others aggravating in their repetitiveness.
My favorite part of the book is in this third section, when the travelers meet up and stay with the Red People, nomads protected by a dust storm who, unlike the other tribes of the country, embrace their social pleasures without being proprietary about them, and to whom the concept of misogyny seems largely foreign. Being open to all things, they find that life is sweet, which is a strange concept to Onyesonwu and her companions.
At the point where the travelers, number reduced, depart the desert and head into their destiny as saviors of the Okeke and Nuru is where the book completely lost me. Onyesonwu has various ideas about how she is to accomplish this mission: One is destroying her father, the powerful magician whose act of rape created her; another crops up out of nowhere near the end of the book, which is to physically rewrite the “Good Book” followed by various sects of each tribe (but with no explanation of specifically how it would be rewritten and what that would achieve in terms of the genocide); and yet another seems like simply a fatalistic meeting of her ordained death, which will somehow transform the world. And that’s what we are left with—a confusing exploration of all of these things, with no real resolution or sense of a goal met. I have absolutely no clue what actually happens at the end.
I found this book so ambitious and at the same time so frustrating. Okorafor unflinchingly explores such issues as rape, child abuse, female genital mutilation, adolescent sexuality, and genocide, all subjects that need to be faced. But she does so by creating some frankly unlikable characters whose flaws are so great that it’s hard to have patience with them, let alone read nearly 400 pages about their journey. I still could have gone with it, however, if not for the utterly confusing ending, which takes the entire slow, minutely examined quest of Onyesonwu to “solve” genocide, sums it up in a few pages, and then rewrites itself in three separate epilogues! (I think I have mentioned before how little I enjoy 99 percent of epilogues in fiction.)
Perhaps I am just not sufficiently tuned into this book or its author to get the point of this saga; but from my perspective, a story with meticulous world-building and an interesting premise simply went off the rails and failed to fulfill its promise despite its author’s obvious brilliance.
Perhaps, during this time of forced social inactivity, you are ready to get stuck into an immersive series. And perhaps that series should take you away from this uncertain present and into a past, future, or parallel world compelling enough that you can live there for a few days. Here are some suggestions…
First of all, written for young adults but really just an exciting sci fi series for anyone, is the Chaos Walking trilogy by Patrick Ness. The books are The Knife of Never Letting Go, The Ask and the Answer, and Monsters of Men.
The series begins in Prentisstown, an outpost on a planet that is not Earth, a village whose population is mostly hick farmers, 100 percent male, and possessed of an interesting anomaly: They can all hear one another’s thoughts.
It’s not like telepathy, though, it’s more like a constant barrage of the unconscious things people think to themselves in their heads. There’s a reason they call it “the Noise.” It’s almost impossible to withstand, although they all work hard to guard their own thoughts and resist those of the others.
A short way into the story we are introduced to the last boy in Prentisstown, who will become a man on his 13th birthday. But everything he has been told by his fathers, his preacher, the mayor, is a lie:
- All the women on the planet caught a virus and died: LIE.
- That same virus is what caused “the Noise” in the men: LIE.
- This is the only settlement on the planet: LIE.
- All of the “aliens” who used to live on this planet are dead: LIE.
Todd Hewitt’s world has fallen apart. After he makes an interesting discovery that exposes one of these lies, his fathers kick him out of the house to save him, and he is on the run, with his talking dog Manchee. A madman preacher and a power-hungry mayor are chasing him for some reason, and he is about to discover that most of what he thinks he knows is just not true. Worst of all, he is pursued by “the Noise.” Imagine how hard it is to hide when you can hear every stray and random thought of everyone within a couple-mile radius—and they can hear yours.
With underlying themes of genocide, slavery, racism, and sexism, this series is an addictive page-turner that starts with a slow burn and increases the heat from chapter to chapter and book to book, ratcheting up the tension to an almost unbearable peak as Ness lays the foundations for the climax. It’s a fascinating combination of science fiction, coming of age, and social commentary that’s hard to resist.
A story that may resonate with you at this time in history when the One Percent owns more of the world’s wealth than the other 99 put together is contained in the three-book series by Starhawk: The Fifth Sacred Thing, Walking to Mercury, and City of Refuge. These books tell of a utopia and a dystopia that exist side by side within the future state of California. In the northern end of the state, a group of old women start a revolution in the streets of San Francisco that ends in a cooperative state in which sustenance is shared by all, and the motto is, “There is a place for you at our table should you decide to join us.” The water flows freely, the streets have been torn up and turned into gardens, personal freedom is as important as personal responsibility, and the entire “village” not only raises the child but looks out for everyone else as well. Meanwhile, down south, centered on Los Angeles, the contrast couldn’t be greater: It is the ultimate expression of the haves versus the have-nots. The haves live in shuttered mansions with swimming pools and drive armored cars and control the army by putting drugs in their food, while the have-nots quarrel over a tin cup of water or a morsel of bread, and are daily more emaciated as they work harder and harder only to starve and die. What happens when the rulers of the south turn their eyes northward and decide that the bounty they see there should also belong to them?
A group of books that is only loosely a series is known as the Hainish Cycle, written by formidable sci-fi talent Ursula K. LeGuin, and spanning decades of her career. There are both major (award-winning) and minor books contained within this grouping, and although I read them as they were published, I have never gone back and put them in the proper order to see the overall evolution of the Ekumen, a star-spanning society that is the League of All Worlds. There is no internal consistency among these books, nor is there an over-arching story line, but the presence of the Ekumen, either behind the scenes or in the thick of the action, makes LeGuin’s works into a philosophical whole. The first three books (Rocannon’s World, Planet of Exile, and City of Illusions) can be had in one volume called Worlds of Exile and Illusion; after those, it’s The Left Hand of Darkness, The Word for World is Forest, The Dispossessed, the short stories of Five Ways to Forgiveness and A Fisherman of the Inland Sea, and culminating in The Telling.
Reading all of these sequentially and all at one go would be a tremendous undertaking, and you would have to get a feel from reading the early books whether LeGuin is one of “your” authors or not…but reading them all gives a heightened sense of what’s at stake when an alliance of worlds decides to interact with deeply complex cultures in the attempt to forge further connections. The layers of psychology, sociology, and sheer human orneriness that LeGuin encompasses are fascinating.
These are all ambitious suggestions, and also pretty serious reading. For my next post, I’ll look for series just as engaging and every bit as long, but perhaps a little more lighthearted.